In 1988, Hall was on a small fishing wharf in Quidi Vidi, Newfoundland- working on a television drama as Art Director. Once the film crew left- she stayed on, pulled by deep curiosity about the work, the knowledge, and the engagement with the environment which were present in that place, from long before dawn each day. She asked Eli Tucker- the owner of the wharf and the skipper of the crew that worked the water from there, if she could "hang around".
His "permission" proved transformative to her life and work as an artist- placing her into direct encounter with one of the oldest "hunts" of the species, and the deep knowledge and hard labour of fishing practice.
She fished with Eli's crew until the cod moratorium in 1992. She made The Coil from one of Eli's old cast off cod traps, and created visual art and installation work about the fishery for more than a decade. Everything came from that place- even when she stretched to engage with fishers in Bonavista or in Haida Gwai in B.C., she carried what Eli and his sons had taught her.
The work below represents the visual art which directly emerged from her relationship to Eli Tucker's wharf- the objects are his objects, the boats are (mostly) his boats, the oilskins belonged to him and to his crew. The reverence with which these everyday objects are represented was part of Hall's intention- an act of her labour in respect for the labour of the wharf- using her practice in service of fishing practice itself.